Wednesday, November 11, 2015

TV Recap: SCREAM QUEENS Episode 8, ‘Mommie Dearest’

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TV Recap: SCREAM QUEENS Episode 8, ‘Mommie Dearest’

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SQ_108_PP_sc5_1133R1_hires1 SHOCK belts out another episode recap of SCREAM QUEENS.

The dean takes the promised meeting with Grace, but doesn’t recall promising to tell her anything about the bathtub baby. She goes home and takes a shower. The setup is like PSYCHO, with the Red Devil approaching like Mother Bates. But Jamie Lee isn’t the victim like her mother; it is all a ploy. She appears behind the Devil and smashes his head into the wall. “I’ve seen that movie like 50 times!” The dean runs into the other room and calls 911, but gets an automated message. She hangs up when the Devil appears with a knife, and faces off against him with a fireplace poker. Dean Munsch holds her own, but then a second Devil appears, this one with an axe. To the dean’s surprise, a third killer joins the fray, this one in an Antonin Scalia mask. The dean gives a lengthy – and boring – monologue about how a former lover taught her Thai blood sports, and she kicks all of their asses. When she fights Scalia, she spouts off against his more ridiculous court decisions. All three killers end up running scared.

The next day, the dean meets with Grace once again, deciding that, now that the killers have come for her directly, it is time to be a little more helpful. She gives Grace the name of the Kappa who died birthing the baby: Sophia Doyle. Grace doesn’t believe it; her dad told her her mother’s maiden name was Mulligan. She is disappointed. She takes this info to Pete and start running a search on Sophia Doyle, but they can’t find anything. They need a new strategy and jump to a whole bunch of conclusions about the Hag of Shady Lane. Since she was the one who took the baby, and she was crazy, she would probably end up in a sanitarium. They go back to the asylum where Dean Munsch was being held. Picasso, the woman who painted them unrealistically fast when they were last there, offers them a painting of Gigi, based on absolutely zero information. When Grace mentions the woman would have had a baby with her, Picasso presents a painting of Gigi holding two babies, a boy and a girl.

Grace goes straight to Gigi with the painting, demanding answers. She found out that Gigi lied on her resume and she dropped out of Wallace University as a sophomore for “medical reasons.” Gigi throws some dime-store therapy at her, thinking that this is Grace’s way of dealing with her dad’s new relationship. To make matters worse, Gigi has a bombshell for Grace: Wes proposed. She reveals a teeny, tiny diamond engagement ring as proof. Grace goes straight to Wes, who is confused about what happened. The way he tells it, Gigi went to the mall to pick up some stuff for his place, like lamps and decor-type things. She came home with an engagement ring and Wes decided to play along so he could have mind-blowing sex. He promises Grace he won’t actually get serious with Gigi without talking to her first. Grace starts putting the pieces together, realizing that Gigi would have known her mom in college, which means Wes would have known her then. She runs from the house, scared and crazed, and Wes looks at himself evilly in the mirror. I think this is supposed to suggest he is one of the killers, but I honestly don’t believe he is.

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During all this, Grace has missed the drama o’ the moment at Kappa house. The Chanels have offered Denise (who is now living in the house, in #2’s room) $3 million in exchange for proof that Grace and Zayday are the killers. Denise starts her investigation with Jennifer, who has nothing bad to say about Zayday… then she remembers a story Zayday told her from high school, when the rich, popular girls lured her into their clique only to make fun of her. Zayday said that on that day, she would find a way to get real revenge against rich girls. Zayday overhears all this, confronts Jennifer and Denise, and warns them to leave her alone.

Denise goes to talk the Chanels into giving her an advance on the $3 million, to cover expenses. While she is doing that, the Red Devil kills Jennifer while she is recording her vlog. Denise and the Chanels head downstairs and find Jennifer seated upright on the table, covered in lit candles and melted wax. She is very dead.

The dean gives a press conference, announcing she is shutting down the campus indefinitely. “Congrats, Red Devil – you have won.” Hester and Chanel #4 lead a memorial for Jennifer while Chanel is at the Kappa house, screeching about how with school shut down, her whole life is ruined. She has a pair of Scotland Yard officers in the living room, demanding that they investigate, and insinuating that she will pay any price to see Zayday and Grace go to prison. The whole scenario is ridiculous: Chanel got them there by making death threats against the Duchess of Cambridge. Nonetheless, the officers investigate and find that Chanel #5 is her best suspect. She spends a lot of time on the Dark Web and hosts numerous chat rooms where the topic of conversation is always the best way to kill her roommate. Chanel doesn’t care about any of that; she wants proof that Grace and Zayday are killers. The cops don’t have any proof, but they do give her a file with Grace’s mom’s criminal record.

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When Grace returns to Kappa house, Chanel confronts her with what Scotland Yard found. Grace’s mother was Kappa president in 1995, the girl in the blue dress who was dancing obsessively to TLC’s “Waterfalls” in the first episode. She hooked up with Wes at the party and nine months later Grace came along, and her life fell apart. She changed her name from Bethany Stevens to Mary Mulligan, and has a rap sheet that includes multiple felonies including theft, drunk driving, and dealing meth. Wes had to sue for sole custody of Grace, and a year later, she died in a drunk driving accident. “You aren’t the baby in the bathtub. Accept that your mom was just a drunk, degenerate slut.” Grace slaps her and leaves. She confronts Wes with what she has learned, and he confirms that what Chanel said was true. Wes burned down their house to cover any evidence of Grace’s mom’s sordid past. “I committed arson to protect you!” he insists, as if that is something to be lauded. He planned to tell Grace the truth one day, but that day never came. Grace reminds him that she is her mother’s daughter and that he should stay away if he wants to protect himself. As soon as Grace leaves, Gigi enters with fake concern for Grace. She is failing out of school, and starting to lose her mind. Gigi suggests Wes take real action… maybe even committing her.

Now that she is living in the Kappa house, Denise has appointed herself house mother and is wearing Chanel #5’s clothes. She takes Chanel aside and chastises her for insulting Grace’s mother. She wants Chanel to apologize, and when she refuses, she threatens to go back to having sex with Chad. Chanel agrees – angrily. She meets Grace for coffee and tries to bond with her over their horrible mothers. Chanel’s mother wouldn’t let her attend her own graduation because she had a zit so big she thought it would bring shame on the family. The girls don’t quite bond, but Grace does accept her apology.

We finally see Boone, the guy who faked his own death in the second episode. He is at the gym when he gets a call. “All I do is work out and kill people,” he whines to the person at the end of the line. It turns out that Gigi was dressed as Antonin Scalia, and Boone is worried she is ruining their “brand.” He wants to kill Gigi, then finish what they planned. 

This was a tough episode to slog through. There were a lot of pointless asides and mini-flashbacks that were maybe supposed to be funny… but they weren’t. It felt like this episode jumped to more conclusions than usual and ultimately was just there to pad out the episode order.

The post TV Recap: SCREAM QUEENS Episode 8, ‘Mommie Dearest’ appeared first on Shock Till You Drop.

Tuesday, November 10, 2015

Felissa Rose to Attend Special Screening of SLEEPAWAY CAMP in Hollywood

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Felissa Rose to Attend Special Screening of SLEEPAWAY CAMP in Hollywood

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SleepAYO!2 Select cast of classic slasher SLEEPAWAY CAMP to attend special screening in Hollywood.

Legendary gender-bending slasher classic SLEEPAWAY CAMP will hit screens again, this time with cast members Felissa Rose and Tom Van Dell in attendance. Contemporary cult filmmaker James Cullen Bressak (PERNICIOUS) drags his ongoing horror screening series “Campfire” for another round for this special one-shot show, which will go down on November 28th at the Arena Cinema in Hollywood.

“(SLEEPAWAY CAMP) just screams 80s goodness!” says Bressack.
“In my humble opinion, Angela (Rose) from the SLEEPAWAY series is one of the best and most shocking slashers ever made. We all have our own camp memories. What better way to spend a campfire night at then with SLEEPAWAY CAMP crew!”

Rose and Van Dell will stick around after the show for a lengthy Q&A and there will be a mixer and reception pre-screening.

Admission is $12.

For more on the screening and the Arena Cinema go HERE.

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WATCHMEN Star Jeffrey Dean Morgan To Play ‘Negan’ in THE WALKING DEAD

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WATCHMEN Star Jeffrey Dean Morgan To Play ‘Negan’ in THE WALKING DEAD

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Negan1 WATCHMEN actor to play villainous character in THE WALKING DEAD.

Great news for fans of AMC’s getting-better-with-age zombie series THE WALKING DEAD

The Hollywood Reporter broke the news today that actor Jeffrey Dean Morgan, so good in films like WATCHMEN and the underrated remake of THE LOSERS, will play the vile, villainous Negan, the crass, wicked SOB created by Robert Kirkman in the original TWD comic books.

Negan is a kind of post-apocalyptic Mafia don who terrorizes what’s left of the Alexandria community, extorting rations in exchange for protection. In the comics, it’s Negan who kills Glenn, not the horde of zombies who by all appearances tore the character to shreds in the 6th season’s 3rd episode.

To read the entire story, bust on over to The Hollywood Reporter now..

And in case you missed our recap of the 5th episode of TWD season 6, go HERE..

The post WATCHMEN Star Jeffrey Dean Morgan To Play ‘Negan’ in THE WALKING DEAD appeared first on Shock Till You Drop.

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#Horror November 20, 2015

Monday, November 9, 2015

Remember When Siskel & Ebert Reviewed CHILD’S PLAY 2?

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Remember When Siskel & Ebert Reviewed CHILD’S PLAY 2?

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Flashing back to the late Siskel & Ebert and their hilarious review of CHILD’S PLAY 2.

CHILD’S PLAY franchise mastermind Don Mancini posted this gem on his Facebook page earlier today and it’s too good to not share with you…

From Don:

“HILARIOUS SISKEL & EBERT REVIEW OF CHILD’S PLAY 2: ‘Truly frightening and well-made… But sick and unwholesome, a completely malignant exercise… It made me feel unclean.’ MISSION ACCOMPLISHED!”

The late film critics are among the most revered in history but their erratic readings of horror films make for some uproarious viewing, especially when watched decades later…

Have a look…

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Blu-ray Review: BOUND TO VENGEANCE

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Blu-ray Review: BOUND TO VENGEANCE

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Revenge thriller comes to Blu-ray from Scream Factory.

It would be easy to over think a film like BOUND TO VENGEANCE, to politicize it and to lard it in with the glut of rape-revenge horror films that academics have slavishly dissected and, ultimately, given more credence to than most of them warrant. The typical rape-revenge formula is a simple, perverse beauty and the beast distillation, jacked up for easy outrage and queasy titillation. Most of them try to have it both ways, reveling in the sordid, sad details of a crime and then apologizing for their actions by celebrating graphic scenes of revenge. True, most pictures in this tired sub-sub-genre are junkfood made for dimwits (apologies to dimwits), which makes the higher-education chin-stroking that surrounds them even sillier, like sending an elite food critic on assignment to review a 6-pack of Chicken McNuggets.

So, yes, on its surface BOUND TO VENGEANCE might seem like yet another post-LAST HOUSE ON THE LEFT toss-off, but it’s not. Unlike slick, reactionary trash like I SPIT ON YOUR GRAVE (original, remake, sequels, the whole ugly enchilada), BOUND only touches on sexual assault as its catalyst and never wallows in the gynecological muck to get its audience going. It’s a “what-if” action fantasy thriller about the victim flipping the balance of power and racing the clock. In fact, it’s the sort of film that Liam Neeson and Nicolas Cage seem to do these days (even the title sounds like a DTV Cage potboiler), except instead of an angry dad losing his shit on a gaggle of scumbags to save the day, it’s the character that usually needs to be saved steering the good ship vengeance.

After a run in festivals and theaters earlier this year from IFC Midnight (read our initial review HERE), the movie is finally making it to Blu-ray and DVD (a double format release) courtesy of Scream Factory, who occasionally step away from their awesome classics restorations to focus on contemporary pictures like this (though they offer absolutely no extras save for the trailer). Tina Ivlav stars as Eve, a young woman who when we find her, is chained to a filthy floor and about to be fed by her sniggering captor (Richard Tyson). But the tables turn quickly when Eve attacks the man and snatches his keys, unlocking her shackles and imprisoning the dazed, bleeding antagonist in his own trap. As Simon Boswell’s punishing electronic score swells on the soundtrack, Eve runs screaming from the house, looking for an exit and quickly realizes she’s in the middle of nowhere, her screams for help sucked into the night winds. She runs back to the house and in her rush to find car keys, stumbles upon a series of photos of other women, obviously in states of stress and abuse and apparently kept in other house scattered across the city. Suddenly pushed past the point of caring about her own fate, she bolts back to the basement where she beats the bastard some more and forces him at gunpoint to drive her to the other houses to find the other victims.

What follows is a violent, unpleasant and tense (and often, very strange) two-hander between Eve and her nemesis (who we later learn is named Phil) as he keeps trying to manipulate the situation and cloud her already fevered senses, resulting in much inadvertent bloodshed. But as the pair drive deeper into the blood-spattered night, Eve gets closer and closer to the ultimate truth about her situation.

BOUND TO VENGEANCE is ultimately a daft, pulpy descent into stylized nastiness. Director J.M. Cravioto takes a slim presence and works it hard, jumping between the grimy night scenes and flashback day-lit sequences, and exploits that deft, aforementioned Boswell score to full effect. This is really nothing more than a noir-infused action film, but it’s so sensational and baroque that it leaks easily into horror. I’m not sure if it’s a good film but it’s tight, taut, never dull and offers some nice deviations from the usual revenge programmer, enough that I certainly can recommend it as a fine bit of filthy time-wasting.

And if you want a similarly themed but intellectually superior film that invites deeper analysis, save your synapses for the recent psychodrama JULIA on for size. Now there’s a complex film that subverts expectations and transcends…

The post Blu-ray Review: BOUND TO VENGEANCE appeared first on Shock Till You Drop.

Review: Socio-Political Brazillian Horror Film HARD LABOR

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Review: Socio-Political Brazillian Horror Film HARD LABOR

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Chilling socio-political horror film HARD LABOR gets the SHOCK review.

The most definitive moment of ‘horror’ in Marco Dutras and Juliana Rojas’ HARD LABOR is its final shot. In it, an unemployed man at a motivational jobs market seminar rips off his tie and pushes out one of the most primal cinematic screams in recent memory. The man, Otavio (Marat Descartes), isn’t alone in his despair: he’s instructed, in fact, to join his fellow attendees in unleashing their ‘inner animal’ as they navigate an increasingly downsized Brazilian economy. For Otavio and the rest of these would-be bread-winners, the only thing worse than the emasculation of joblessness is the notion that they’d pay someone else to relieve themselves of it.

HARD LABOR isn’t an exploitation film but a film about exploitation, and in its quiet way, it earns the cry of despair its ending oppressively piles on. And yet, the events that precede HARD LABOR’s climax are another matter altogether — disturbing in their subtlety, disjointed as parts of the writer-director duo’s attempted whole.

Helena (Helena Albergaria), Otavio’s stoic housewife, purchases a grocery store whose earnings will provide their family’s new primary source of income. Soon after its grand opening, the store’s modest charm turns sour as it begins to show signs of containing some sinister secrets: a dog snarls at the storefront as Helena closes it for the night; black sludge seeps up through the cracks of the floor; large teeth turn up without rational explanation. Moments of creeping doom, indeed, and the meticulousness of their placement throughout HARD LABOR naturally begs the question: where does it all lead? (That Dutras and Rojas’ glimpse into Helena and Otavio’s domestic life, as well as the couple’s relationship to their newly hired live-in maid and babysitter, Paula (Naloana Lima), shifts the film’s ominous tone toward naturalistic familial drama keeps any answers tantalizingly vague).

Ambiguity, here, is the name of the game, and HARD LABOR has it in spades. This is thanks in no small part to Dutras and Rojas’ expertly honed kitchen-sink approach, which serves strongly their study of shifting power dynamics within the blood and business families of both Helena’s house and her store. Albergaria, Descartes, and Lima are uniformly excellent at embodying the symptoms of economic disparity that lead each of their characters, in their various forms of (un)employment, to either exploit others or become exploited themselves. As all of this social realism establishes what’s at stake (for Helena, it’s her family’s stability; for Otavio, his social identity; for Paula, her citizenship), an eerie discovery of gargantuan (werewolf?) skeletal remains feels as though it’s ready at any moment to provide some revelation that will, at long last, put the film’s collision of psychological horror and indie drama into perspective. Mystery begets surprise and climactic clarity — or so it seems.

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But this is where HARD LABOR gets caught up in chasing its own proverbial tail. The sometimes supernatural, other times earthly-yet-uncanny manifestations within the four walls of Helena’s store, we are made to believe, are anything but metaphorical: their existence is provable with the hard evidence — bones, ooze — that she and her husband observe and eventually collect themselves. And yet, these very manifestations are left so unexplained, so without even a hint of implication about their origin, that the menace of their presence evaporates. For a film that for so long plays out like a modernist twist on Kubrick’s symbolist vision of haunted spaces, HARD LABOR emerges as a love letter to THE SHINING that was given a second thought, scribbled out, and thrown away. While this isn’t necessarily a bad thing, the film is a litmus test of sorts, one that will measure how much stock audiences may or may not take in clues that are deployed throughout a narrative.

If you are willing to accept characters, events, and genre tropes (in this case, something faintly reminiscent of werewolf lore) as purely representative rather than ‘real’ — that is, that you look at them as standing for something rather than ‘being’ something — then you may come away from HARD LABOR with the impression that it’s one of the strongest foreign indie horror films of recent years. If you crave the feeling of being convinced of the ‘real’ threat of on-screen horror, then you may come away from HARD LABOR with the impression that it is not a horror film at all. Regardless of what category you may fall under, one thing in the film is clear: the gap wolf and man is closing. And even if HARD LABOR is more vexing than it is rewarding, that notion may be scary enough.

HARD LABOR just played New York’s Cinema Village and is now available on VOD through Fandor.
Review: Abstract Brazillian Horror Film HARD LABOR

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